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Tue, 26 Sep 2017 16:58:11 -0500Joomla! - Open Source Content Managementen-gbCliffhanger by Randy Sandkehttp://www.jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/cliffhanger-by-randy-sandke.html
http://www.jazzreview.com/cd-reviews/straight-ahead-classic-cd-reviews/cliffhanger-by-randy-sandke.htmlRandy Sandke has to be one of the most underrated trumpet players on the planet. Along with being a fine composer/arranger, he has an absolutely beautiful sound on the inst…

Randy Sandke has to be one of the most underrated trumpet players on the planet. Along with being a fine composer/arranger, he has an absolutely beautiful sound on the instrument, with a very full sound in all registers.In addition, he has tremendous range, which he uses judiciously to great effect. His solos are like mini-works of art, effortlessly constructed seemingly at will. In short , he has it all -- tone, range, limitless imagination , and above all, taste -- a trait which seems to elude many jazztrumpeters.

On his new Nagel Heyer release, "Cliffhanger", Randy, alongwith Harry Allen on tenor, and Wycliffe Gordon (for one track) on trombone, form a formidable front line as they tackle a great bunch of standard tunes , as well as a few Sandke originals. They are pushed relentlessly by the "Rolls-Royce" rhythm section of Mulgrew Miller, Peter and Kenny Washington (no relation). There are understandably quite a few highlights -- but a few really stand out. "Let's Face the Music and Dance" is taken at a fast clip, with a typically swinging solo by Randy and a bubbling solo by Allen. The gorgeous"What's New" (penned by the late Bob Haggart) is given a beautiful new look byRandy , showcasing his clear , open sound and impressive range. Along the samelines, "I Fall In Love Too Easily" has a wistful quality to it, and featuresa stunning Sandke solo. A cooking, latin-tinged "I Concentrate on You" , alternates with a cooking , swinging middle solo section. Mulgrew really shines on this one -- is there a more tasteful and swinging accompanist ??Harry Allen follows with a killer solo , and the tune is taken out with that Latin vamp. Definitely one of the highlights of the CD -- check out Randyand Harry's back and forth on the fade out. There are three Sandke originals,several of which in my opinion stand out . "Cliffhanger" features a funky head, as well as stop-time sections, where the innovative Wycliffe Gordon really gets to strut his stuff and "One for Mulgrew" is a nice feature for theafore-mentioned Miller. Over and out with a lightning fast , chop buster "Limehouse Blues" , which , after a deceptively modern opening sequence, plunges right into a super-fast four, which cooks mightily, to say the least.Whew!!!

This CD offers proof positive that Randy Sandke is one of the verybest jazz trumpeters playing today. Starting with his work for Concord Jazz , right through to the many Nagel-Heyers he has been featured on , he has beenan incredibly consistent player in ALL types of contexts. If you don't believeme, check out his previous CD "Inside Out" , also on Nagel Heyer. It is quitetime that the jazz press and general listening public took much greater noticeof Mr.Sandke. "Cliffhanger" is an excellent place to start.

]]>morrice.blackwell@gmail.com (Rick Dobrydney)Straight-Ahead - CD ReviewsThu, 17 Jul 2003 07:00:00 -0500One Guitar by Wayne Johnsonhttp://www.jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/one-guitar-by-wayne-johnson.html
http://www.jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/one-guitar-by-wayne-johnson.htmlWayne Johnson is the guitarist for the touring band which accompanies the acclaimed vocal group Manhattan Transfer. With this CD he steps out on his ownand has produced a t…

Wayne Johnson is the guitarist for the touring band which accompanies the acclaimed vocal group Manhattan Transfer. With this CD he steps out on his ownand has produced a thoroughly enjoyable solo acoustic guitar set, sans anyoverdubs. Displaying monster chops, taste, and a melodic, fluid style, he makes this CD stand out among the recent solo guitar releases as something which is truly unique. Employing a percussive technique which is actually quitestartling when heard for the first time, along with his voice on one cut, Johnson literally sounds like his own accompanist. His playing has an upbeat,sunny sort of feel to it, giving the entire set a positive, optimistic spin.

There are numerous highlights on the disc, which has been sumptuouslyrecorded. "Firefly" is a great opener, making use of the percussive effects, as well as having a catchy theme. There is a clever reworking of the standard"Tennessee Waltz", turning this ageless tune into something new, fresh, andswinging. Several ballads are featured, among them the beautiful "Baby", and a gorgeous Fred Hersch tune "Valentine". "For Sodie's Sake" is a snappy, irresistible tune, with an undeniably catchy hook and which seems destined forairplay. The centerpiece of the CD for me is the kaleidoscopic "My Secret" , akind of suite in three distinct sections, tied together with percussive effects. The final section features Johnson's voice and strumming techniquealong with a killer melodic line which just seems to carry the listener away.

I've come across numerous solo guitar recordings in the past few years andall have their strengths and weaknesses. What separates this particular CD frommany others is the quality of the writing, and the overall positive vibe I came away with after listening to this music. There is no doubt that Johnson stylistically can cover all the bases and possesses tons of technique. The goodnews is that he doesn't flaunt that fact (as many guitarists do) and as a result the compositions themselves take center stage, as well they should. A stunning solo debut, highly recommended.

]]>morrice.blackwell@gmail.com (Rick Dobrydney)Contemporary Jazz - CD ReviewsSun, 08 Jun 2003 19:00:00 -0500Couldnt Be Hotter by Manhattan Transferhttp://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/couldnt-be-hotter-by-manhattan-transfer.html
http://www.jazzreview.com/cd-reviews/jazz-vocals-cd-reviews/couldnt-be-hotter-by-manhattan-transfer.htmlI've always felt that the Manhattan Transfer has been sort of taken for grantedin popular music circles. They are almost too good. For decades now they have epitomized the …

I've always felt that the Manhattan Transfer has been sort of taken for grantedin popular music circles. They are almost too good. For decades now they have epitomized the classic vocal group, moving very easily into a variety of styles - Brazilian, swing, bebop, and flat-out pop. The four members - Tim Hauser, Alan Paul, Cheryl Bentyne, and Janis Siegel - have been together quite a long time now, and it certainly shows in their live performances and on thisnew recording. The vocal harmonies are tight beyond belief, and they swing their collective tails off.

In this new live set , recorded live on tour in Japan, they concentrate mainly on the music of Louis Armstrong and other swing era warhorses, and the result is an electrifying performance, sparked by a relentlessly rocking backupband and several featured soloists. The highlights are many , but a few must bementioned. Tim Hauser has a hilariously swinging time with "Old Man Mose" , the band pushing him to no end. Cheryl Bentyne displays her gorgeous ballad pipes on "Sugar" and "Do You Know What Means To Miss New Orleans?" "Up A LazyRiver" is given a fresh new treatment with Alan Paul (who has matured remarkedly as a vocalist) and the amazing Lew Soloff on trumpet (remember hissolo years ago on the Blood Sweat and Tears hit "Spinning Wheel"?) Here he doeshis best Louis Armstrong imitation, with the halting phrasing and spectacularhigh notes. Quite a performance. Janis Siegel puts her individual stamp on"Stompin' At Mahogany Hall" and "Nothin' Could Be Hotter" as well as seamlesslead vocals on several other tracks. "Twilight Zone", a Transfer hit from sometime ago, is thrown in for good measure, and it cooks, thanks in no small partto that terrific band. The set concludes with a lovely , quiet version of "MyFoolish Heart", the famous Transfer harmonies remarkedly intact.

This impressive set shows that the Transfer is still at the peak of their collective powers, and the association with Telarc should be a fruitful one. As I stated earlier, they are too good, and its time we acknowleged them as one of the very best of a dying breed, THE classic vocal group. This CD is proof positive . "Couldn't Be Hotter" indeed.

]]>morrice.blackwell@gmail.com (Rick Dobrydney)Jazz Vocals - CD ReviewsMon, 28 Apr 2003 07:00:00 -0500Woody Herman 1963 by Woody Hermanhttp://www.jazzreview.com/cd-reviews/big-band-swing-cd-reviews/woody-herman-1963-by-woody-herman.html
http://www.jazzreview.com/cd-reviews/big-band-swing-cd-reviews/woody-herman-1963-by-woody-herman.html1963 was not a particularly good year for jazz or big bands, but along cameWoody Herman with one killer outfit of a big band , probably one of the mostexciting in jazz hist…

1963 was not a particularly good year for jazz or big bands, but along cameWoody Herman with one killer outfit of a big band , probably one of the mostexciting in jazz history, and produced a series of albums for the Phillips label which are now considered classics of the idiom. "1963" was the first inthe series of these albums and it sent shock waves through the jazz and big band community then and continues to do so today. No band in that period, not Basie, not Ellington, not Kenton, could touch this band on a good night. It'sjustifiably famous brass section boasted the great Bill Chase on lead and solotrumpet, and the exciting Phil Wilson on trombone. The saxes had the incredibleSal Nistico on tenor -- one of the most exciting up-tempo soloists ever. The"Rolls Royce" rhythm section was powered by the great Jake Hanna and the bassist Chuck Andrus. Leading it all with a steady hand was Woody and his right hand man, pianist Nat Pierce (who also contributed many of the band's exciting arrangements).

The highlights are many in this set, not the least of which is the 24 bitdigital remastering, which makes the band really jump out of your audio setup.The brass section is heavily featured, as well it should be. Bill Chase is featured , as well as tenorist Sal Nistico, on the funky opener "Molasses". Theold Ellington standard "Don't Get Around Much Anymore" is given a fresh , swinging new look, with a tasty Paul Fontaine muted trumpet solo. And dig thatshout chourus! Horace Silver's "Sister Sadie" is one of the most impressive tracks. It swings ruthlessly from start to finish, with some incredible call and response tight section work from the band. Sal Nistico delivers a probing,hot solo, and one cannot underestimate the great swinging feel that Jake Hannabrought to this band. Phil Wilson literally made a name for himself with his startling solo on "It's A Lonesome Old Town" , and he solos again along withthe tenorist Gordon Brisker on the humorous final cut, "Camel Walk" , which also features the glorious lead trumpet of the late Bill Chase.

This was one incredibly hot band , and it is hoped that Phillips willfollow through on releasing the other albums in the series.(The complete liverecordings of the band at Basin Street West in 1963 are reportedly being prepared for reissue) Woody's band was very definitely at a peak during thisperiod, and these are important recordings which deserve the proper reissuetreatment. Meanwhile, test "1963" on some of your more impressionable friends.Make no mistake, they have NEVER heard a big band like this one.